Ballast Media

Your source for worship media tutorials and resources (Please search "free worship backgrounds" to find all my background)

The answer is, farther than you probably think.  While the IEEE1394 standard only specifies cables up to 15ft (4.5m) there are ways that you can extend that length.

I’ve succesfully run firewire up to 198ft using two in line repeater amps like this and three cables like this. You need to use high quality 6 pin firewire cables throughout because  Pin 5 & 6 carry power to the repeaters.  You also need to be plugged in to a device that can provide power on the line.

I ran this setup for years connecting a couple Canon XL1s cameras to a datavideo SE-800 mixer.  (Note that the mixer does not provide power on it’s DV inputs, so there was a firewire hub between the mixer and the first long cable.)

I found a neat little free VST Drum Machine plugin today called Grizzly. You can download it here: http://www.majken.se/index.php?option=com_content&task=view&id=6&Itemid=9

I was recording some “cheers” for our VBS this summer and needed something that I could easily create a decent sounding drum beat in. This little plugin worked great in Reaper and didn’t take me (a non musician) long to figure out. My only complaint is that the text in parts of the UI is way to small too read.

So now that you’ve got the free program AVSnap installed and created a library of symbols for your lighting fixtures, now what?

Here are some steps and thoughts to get you started creating a BASIC lighting design.  By basic, I mean a design whose goal is simply visibility.
1. Do an inventory of your lighting system.  
How many of each fixture do you have?  What degree angle are they?  How many dimming channels do you have available and what is their power capacity?  Where can you mount lights?  All of this information will be needed when you put together your design.
2. Define the zones that need to be lit.  
Where will people be on stage?  Where does the pastor walk?  Where is the band located, the choir, etc?  A zone could be as broad as “front of stage wash,” or as specific as “the drums.”
3. Decide how many fixtures are needed to light each zone.  This should be decided based on things like what fixtures you have (light output, degrees, etc.), where they can be mounted in your facility and how you want the lighting for that zone to look, and obviously how big a particular zone is.
Since we are assuming basic lighting for visibility I would recommend a minimum of 3 lights for each zone.  These would be Key, Fill and Back light.  Even though I call it key and fill, in this case these are probably going to be two complimentary lights that are evenly spaced to provide even light from the front.  See the example diagram below.
The purpose of using two lights from the front is to remove any strong shadows on the face.  If you only had one light coming from the front, as the subject turns from side to side there would be a strong shadow on their face on the side that turns away from the light.
The reason you need a back light is to add 3 dimensionality to the subject.  Without back light the subject will look flat.  Back light adds nice highlights that make the subject look much more natural and real.  If you’ve never used back light before, give it a try, it can make a mediocre lighting design pop.
4. Put all this information in to a layout in AVSnap.  Add information that will be useful for you in the future, like what the degree angle of each fixture is and what DMX channel is controlling it.  You can also specify what color gel is loaded in the fixture if you are using colored gels.
Once you have your lighting plot created in AVSnap, print it out and take it along with you as you hang, aim and focus your lights.  Make any notes about changes that you make on the print out so that later you can go back and translate that in to your AVSnap file.  Sometimes, as your focusing the lights you’ll realize that you need to make a change to the design.  For instance, you may need more fixtures to cover a given zone, or once you see the color of gel you decide you don’t like it.  Write these down on the print out so that later you can print out a fresh plot to use for programming.

I’m always looking for a way to get the job done well, but cheap.  By that I mean, I don’t look to cut corners by sacrificing the quality of the end product, if something needs to be paid for to get the job done right, then I think you should pay for it.  But, I love finding ways to do things well, and with the same efficiency, and also cheap.  That is why I love open source and free software.

For several years now I’ve been creating lighting plots using a program developed by Altinex called AVSnap.  You can find it on their website here.  It’s a simple program for creating layouts and diagrams, specifically for AV Equipment.  While the program is not open source, it is made available for free.  Altinex makes their money on it by selling libraries of equipment symbols.  
You can create your own libraries of symbols, so I create my own lighting library of fixtures and a symbol for the stage layout.  With this I can quickly create a tool for designing a lighting plot.  Below is a look at the main screen with a lighting plot I created.
On the right side you can see the library of lighting fixtures.  It’s just a matter of clicking and dragging a symbol from the library to the page to begin creating your layout.
My next entry will talk about how to design a lighting plot for your space with some general guidelines that I’ve been thinking about lately.

I’ve received a request to help light an interview for video…on a budget.  So, if budget is a consideration, what equipment would I use and how would I light the interview?  Read on….

First the lighting kit.  For the absolute cheapest possible lighting setup, I’d recommend the following 3 light kit made by Impact.
This kit is cheap at $204 for what you get.  The smaller light on the boom arm is great for back light on your subject, and the two larger scoop lights and umbrellas can be used for key and fill lighting.  Not a bad simple setup.  I used this exact kit for years when I first started lighting for video.  The draw backs of an economy kit like this are that the fixtures aren’t as rugged, so they take a bit of TLC when setting up and carting them around if you want them to last.  Also the scoop lights don’t give you many options for controlling the light output.  Basically they just puke a bunch of light out. 
If you need more control of your lighting and want a kit that will be a bit more rugged, I’d recommend the following kit made by Lowel.
This kit gives you a little more control of your light with the addition of the barn doors.   Using the barn doors you can block the light from shining on your back drop and limit it to your subject.  This can be desirable in a case were you want to light the back drop differently then your subject, maybe with a color gel, or a gobo effect.
Finally, to either of the above kits I would add this softbox.  A softbox is great at giving you a nice even key or fill light depending on the look you are going for.  Even with a softbox you can create nice texture (the desirable kind) on your subject by adjusting the angle of the softbox relative to your subject. 

So now you’ve got your basic lighting kit together, where do you begin setting it up?  
Let’s look at what I would consider a good starting point for your lighting setup, it’s what I’ll call a basic 3-point lighting look.  It will produce a nice evenly lit subject and is a good starting place from which you can begin to experiment from.  To achieve this look, place your key light, which would be your highest wattage light roughly 45 degrees from your subject.  Next place your fill light on the opposite 45 degrees.  Usually the fill is slightly less wattage, but not always.  The goal of the fill light is to “fill” in the shadows created on the face by the key light, but a little bit of shadow creates depth so you don’t want to eliminate it completely.  I usually use the softbox for the key and a light with an umbrella, or sometimes just a direct hard light, but at a lower wattage for the fill.   Here is an example of this type of lighting setup.

The third light in this setup is the back light.  Notice how her hair on the upper right side has lighting highlights on it?  This is the back light.  Without the back light she would have looked very flat and lacked 3 dimensionality and depth.
There you have it.  A simple, cheap lighting setup for an interview video.

I’m working on my first tutorial, it’s going to show you how to use your worship software (SSP, Easy Worship, Media Shout, etc) to control your lighting board. There has been a lot of discussion about this on churchmedia.net recently, and I thought I would go ahead and put together a tutorial to show you how to do it.

Check back soon for the tutorial. It’s a pretty cool implementation, especially if you don’t have a person you can dedicate to running lights.

This is a bit obscure, but it may help you with other similar problems you may have with Vista.  I was filming an interview for a testimony video last night and ran in to some problems with DVRack.  A couple months ago I purchased a new laptop, which of course came pre-loaded with Vista.  I had installed DVRack on the laptop and verified that the program opened, but never actually used it to capture any video yet.

So of course I get “on the set” and expect that DVRack will perform beautifully like it always has.  But when I connect up the camera and launch the application no video is displayed in the preview monitor.  The waveform and vectorscope both show that they are receiving signal.  I even recorded a clip, ejected it and played it back in WMM and everything was recorded fine, just no video display in the monitor!  Well, I got through the interview fine having to use the camera’s viewfinder to compose the shots.  Today I did a little hunting for the solution to the problem and found out it’s a pretty easy fix.

It appears that Vista’s Aero interface doesn’t provide for hardware overlay of video.  (Which of course is what DVRack is trying to do with it’s preview monitor.)  So the solution is to disable Aero when you launch DVRack.  This turns out to be pretty simple.

1. Right-click on the short-cut for the application and choose Properties.
2. In the Compatibility tab under the Settings section, put a check next to “Disable desktop composition.”

 

Worked like a charm.  The preview monitor in DVRack now displays video just like it should.  And that is how you can disable Aero on a per application basis for any application that requires video overlay. 

Have you ever had a video not play on your computer?  Codecs are something that most people probably don’t think about when they play videos on their computer.  For the most part if you are encoding video and playing it back on the same computer you won’t run in to any problems.  But today I had an issue where I transferred a bunch of video files to a new laptop.  None of them played back in WMP, VLC or even in Adobe Premiere Pro.  The problem is that I had used a codec to encode them that wasn’t installed on the new laptop.

In trying to determine what codec was needed I came across a free utility program that did a nice job of telling me all the informaton about the video file I needed to know.  It’s called Gspot Codec Information Appliance and can be downloaded herehttp://www.headbands.com/gspot/.  It told me the type of codec that the video files were looking for and using google I was able to find and download the codec I needed.

I’ve been thinking a lot about video editing workflow lately. It seems like there has got to be a better way, but on the other hand, I think I might give up some of the flexibilty of what I’m doing.  Here is the workflow I used for the last video I made:
1. Capture video in a Premiere Pro 1080i HDV project. (Footage was shot as 1080i)
2. Create a new Premiere Pro 720p HDV project (my target format) and import the previously captured footage in to this project
3. Edit content in Premiere Pro.
4. Export each individual clip from the timeline using the work area bar as a Quicktime Animation 1280×720 resolution.
5. Import all the Quicktime Animation video files in to After Effects.
6. Make it pretty in After Effects.
7. Render out of AE as another Quicktime Animation 1280×720 resolution.
8. Import that Quicktime Animation back in to Premiere Pro. That completes the video edit.
9. Render out of Premiere Pro the audio from each individual clip. Again using the work area bar. This gives me an individual wave file for each clip.
10. Import the wave files and any music in to Reaper.
11. Mix the audio in Reaper.
12. Render the completed mix as a wave file.
13. Import the complete audio mix back in to Premiere Pro. Now the completed Quicktime Animation video file and the completed audio wave file make up the finished video on the timeline.
14. Render out the completed video as a Windows Media Video (WMV) 1280×720 resolution for playback on our screens.

So that’s the workflow I’ve been using for videos lately.  Here is the video, in a highly compressed web version.

Get the Flash Player to see this content.

Ballast Media is a website where you can find resources for creating and using media in your church.  There will be tutorials for Adobe Photoshop Elements and Adobe Premiere Pro, specifically aimed at creating content for worship services.  I believe that these two software packages, which come bundled for around $100, have great potential for unleashing your visual creativity in your worship services.

There will also be general information that you can use about Sound Systems, Lighting Systems, Video Systems and other technology that can be used in your worship service.

This is a second re-launch of the Ballast Media website.  I’m taking my time making sure I’m using a platform that can deliver all of the content features I want to provide, while still being convenient.  I don’t want to spend all my time managing a website, but rather delivering content that can be useful to you and your church.